Part I: Master_31, 1. Illustrating the Sustain Effect: Blues Riffs, The Last Time & and Honky Tonk Women Riffs, Part II: Master_32, 2. Noodling and Riffs, 3. Settings and Beast Of Burden Riff, 4. Organizing the Next Sequence incl. Noodling and a Riff, 5. Honky Tonk Women (rhythm part), 6. Beast Of Burden Riff, 7. Another Effect Illustrated with Angie, 8. Honky Tonk Women Chords, 9. Black Limousine Riff, 10. Guitar Settings, 11. Another Lesson for Honky Tonk Women, Intermezzo (first influences), 12.  Johnny B. Goode Licks, 13. Around The Plynth, Part III: Master_36: 14. 1^st Acoustic Sequence, 15. 2^nd Acoustic Sequence, 16. 3^rd Acoustic Sequence, 17. 4^th Acoustic Sequence, 18. Chuck Berry’s Style Riffs, 19. Memphis Tennessee Riff, 20. From Harmonics to Rock ‘n’ Roll, 21. Rock ‘n’ Roll Riffs 1, 22. Rock ‘n’ Roll Riffs 2, 23. On Unplugged Electric Guitar, 24. Rock ‘n’ Roll Jam, 25. Bridge with Vibrato, 26. Ron Wood Playing Contrabass, Part IV: The Highlights: 27. Sustain Effects: The Last Time, Honky Tonk Women and Blues Riffs, 28. Noodling & Riff, 29. Settings & Beast Of Burden Riff, 30. Organizing the Next Sequence, 31. Honky Tonk Women (Rhythm Part) 32. Beast Of Burden Riff, 33. Delay on Angie, 34. Some Honky Tonk Women Chords, 35. Black Limousine Riffs, 36. Guitar Settings, 37. Honky Tonk Women (Rebuilt), 38. Johnny B. Goode Licks, 39. Around The Plynth, 40. Acoustic Sequences (4 sequences), 41. Chuck Berry-Like Riffs (8 sequences), 42. Memphis Tennessee Riff (2 sequences), 43. Rock ‘n’ Roll Riffs (4 sequences), 44. On Unplugged Electric Guitar (shortened sequence), 45. Tremolo and Vibrato Effects, 46. Ron Wood Playing Double Bass, Part V: Noodling and strumming: 47. Sequences Coming from Master_11 (with a Satisfaction citation), 48. Sequences Coming from Master_12.

On Volume Three we find sequences coming from the interview Ron Wood gave to the makers of Rock Guitar - A Guide From The Greats for US TV Longman’s Educational TV Series that cane out in mid December 82. These are great riffs from Ron Wood played while explaining them; in Part 4, s ince it involves interviews, preparation of sequence content, photo shoots, etc., there are a lot of discussions and adjustments, so it was decided to make a compilation including only the musical passages: this approach offers a collage of sequences. Regarding Part 5, they feature rather painful sequences in which Ron Wood fiddles with his guitar around rhythms and pre-recorded sequences.